Sookoon Ang
John Arndt
Backbreakerneckbrace
Elisabetta Benassi
Wolfgang Berkowski
Johanna Billing
Brian Block
Opie Boero-Imwinkelried
Daniel Bozhkov
Lasse Brandt
aka Bosse Sudenburg

Sarra Brill
Thomas M. Callori
Rob Carter
Anetta Mona Chisa
Suzy Cho
William Cobbing
Tyler Coburn
Patricia Cronin
Keren Cytter
Jen DeNike
Robert Ladislas Derr
Stanislao Di Giugno
Ra di Martino
Honoré d'O
Steven Eastwood
Chris Ernst
Billy Erhard
Mariana Ferratto
Oriana Fox
Rainer Ganahl
Jean-Baptiste Ganne
Mario Garcia Torres
Emil Goh
Goldiechiari
Dara Greenwald
Vincent Grenier
Jesper Just
Rob Johannesma
John Kelly
Jeroen Kooijmans
William Lamson
Penny Lane

Sandra Eula Lee
Jochen Lempert
Jason Livingston
Jennifer Locke
Giuliano Lombardo
Marie Losier
Mary Magsamen
& Stephen Hillerbrand

Giulia Mainenti
Kristine Marx
Tara Mateik
Ursula Mayer
Jacopo Miliani
Franklin Miller
Vincenzo Mistretta
Liana Miuccio
Joshua Mosley
Willett Moss
Shana Moulton
Lydia Moyer
Jeremy Newman
New Humans
Nicedisc
Olaf Nicolai
Dan Oki
Joao Onofre
Jimmy Owenns
Arzu Ozkal Telhan
Jose Parral
Sarah Paul
Julie Perini
Rosalind Peters
PH.ON
Alessandro Piangiamore
Cesare Pietroiusti
Frederic Post
Gunter Puller
Marco Raparelli
Alia Raza
Asad Raza
Jack Riccobono
G. Alan Rhodes
Manuel Saiz
Alessandro Sarra
Corrado Sassi
Mathew Sawyer
Jennifer Schmidt
Guendalina Salini
Cigdem Slankard
Claudia Sohrens
Mirjam Somers
Nomi Talisman
Jennet Thomas
Jennie Thwing
Lucia Tkacova
Nathan Townes-Anderson
Thomas Tsang
Ken Ueno
Guido van der Werve
Marcella Vanzo
Nico Vascellari
Luca Vitone
Clemens von Wedemeyer
Patrick Ward
Julita Wojcik
Emiliano Zelada
ZimmerFrei
Sarah Zwerling

The Destruction of My Piano
2004, 4:04 min.
(video, color, sound)

I found a piano on the side of the road that had been taken apart with a sledgehammer. I felt it was my duty to reinstate its form. Through numerous attempts and reconfigurations, it became apparent that I could not improve on the piano’s original form. The piano had to go back to what it was.
After being bound together with rope for several months, the piano had to be removed from my studio. I wanted to document the destruction of my piano as it once again fell apart into pieces, removed of its form. As the pile of piano parts lay in front of me, I realized it was my new duty to remove all of the form from this piano. I wondered how far I could remove this piano from its original form and still have it be understood as a piano. The essence of my work revolves around this notion; the process of extracting information until so little is left, but what is left is the primary information necessary for that original form to still register in our perception as that original form.
After I created the film, the destruction of my piano, I made a follow up film entitled, the final death of my piano. The new film documents my piano being removed of its form entirely as it is run through a stand-up brush and wood-chipper. The remains of my piano are now housed in four 30-gallon receptacles, reduced to sawdust and metal bits. The strings and hammers remain intact and signify the piano’s previous form, and are mixed in with the sawdust and metal bits. Although my piano is now unplayable, it still resonates its original form and is still recognized as a piano. The idea of piano remains intact; and with it, its original form exists as a new object.

Program 23 : 25 March 2006

THOMAS M. CALLORI (USA)

I make work that listens to the objects I desire. I have a fascination with musical instruments and furthermore, the musicality of objects in general. Through deconstruction and reconstruction, I come to terms with an object and create a new life for that object. What I enjoy is the moment of entry where we are transformed by the piece of art due to its content and material. Musical instruments have a tangible grasp to most people due to their role in the world. This is a moment of access into my work for the viewer through recognizable objects. My interests lie in the musicality of objects. I consider the fact that instruments come in various shapes and sizes. And through this decision, I come to realize it is my job to reinstate an emphasis on musicality and sound as an aesthetic.

I remember a time when objects existed and that was it. There was an object and that is all that was needed. Now, objects are not enough to exist in this world. Objects need presence and something to be remembered by. An object is nothing without its imprint made on the observer of that object. My artwork represents this imprint. It’s a visual representation of our visual perception of that object. The parts used resemble former objects and connect us now not only to the object, but to the new representation as well. Lines of perception now connect all of these objects, including us. We relate by it. We understand it as a way to understand where we came from and where we are going. Without an imprint left on us by the objects that we are surrounded by, we would not know where we are going or have any sort of cognizant memory of any sort of object or thing. It is imperative that we understand these things. Without a memory, there would be no existence, and furthermore, perhaps no world at all. We remember the future of things according to their past. We categorize all objects in some way to accommodate our memories and realities. Through this, a map is made. A map that explains the way things are and how we relate to these things. Without it, we would approach objects as if we had never seen them before and would never be able to associate a memory to understand what it is we are looking at. We are represented by this map as an image of our bodies, made up of points in time connected by straight lines. This structure creates the image that is the representation of what we are, much like my art creates, in some way, the image of the object it is representing.

9 March 2005.